No, of course not. The connection? Now replace the first g#'' with f#'' (and omitting the last g#'', ending the ascent at f#''). I went on many of these patterns until January this year. Of course, there is much more complexity embedded in every note, but I do really appreciate how well Schumann brings to life such a wide range of complicated emotions with such a small piece of music. In my opinion, I feel that Schumann does a fantastic job with this art song. Do you just mean to point out that G# happens in three places in the background? It's a question of simplicity and beauty. “Im wunderschönen Monat Mai” (“In the lovely month of May”) is a brief but evocative song written by Robert Schumann, one of the great composers of German Lied, in 1840. International Music Score Library Project, Texts, translations, information on original and final editions, available published editions, recommended recordings, web and book bibliography, Recording performed by Anton Belov, baritone and Lydia Brown, piano, https://en.wikipedia.org/w/index.php?title=Dichterliebe&oldid=983382777, Musical settings of poems by Heinrich Heine, Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 13 October 2020, at 23:01. Another look at a piece I analyzed a year ago. Which, one cannot help noticing, is what he actually wrote. The poet's love is a hothouse of nuanced responses to the delicate language of flowers, dreams and fairy-tales. There are three gestures in the background model: c#''-b'-g#''-c#'', (c#'')-b'-g#'-a, and c#''-b'-c#''-d''-e''-f#''-g#''-c#''-b'. I don't understand what this means.
Familiarity with my other recent writings will help, though in some sense this post might also be able to serve as an entry point into the latter. Posted on my "real" blog rather than my Tumblr scratchpad, not only because that was where the original discussion of the piece was, but also because it summarizes a number of general insights and evolutions of viewpoint that I have experienced since then. Where's the evidence for this oddly-specific assumption? https://mathemusicality.wordpress.com/2017/06/04/the-lovely-month-of-may-schumann-op-48-no-1-revisited/. The other argument I give follows immediately in the next sentence: More locally than that, of course, we also have the arpeggio g#”-e#”-c#” instead of f#”-e#”-c#”, in which f#” is a purposeless note that lacks connection to the c#”. This is why it is thought to make sense to hand a student a passage and ask them to Roman-numeral-analyze it; the fact that the hierarchy is only two-tiered is what makes this instruction (supposedly) unambiguous. if Schumann had written two successive f#”s, he would be faced here with an argument that he ought to have written g#”-f#” instead. This catastrophe is slightly reminiscent of Schubert's Die schöne Müllerin, in which the hero ends by drowning himself in the brook which he has followed through the cycle. How has my theoretical outlook changed? Unlike Schenkerian theory, chord theory does not admit the concept of structural levels -- at least beyond the two-tiered hierarchy of "part of the chord" and "not part of the chord". You make speculative and dogmatic claims without going into justification or detail, and the larger argument of this section seems vague and unreflective.
The background model illustrates an important part of the reason: the connection between the final g#”, the subsequent g#’, and the later g#” at the top of the “hill” (sixth-progression). It tells a detailed story of a lost love. Following the song-cycles of Franz Schubert (Die schöne Müllerin and Winterreise), those of Schumann constitute part of the central core of the genre in musical literature. Read about "In The Lovely Month Of May," From A Poet's Love by Robert Schumann and see the artwork, lyrics and similar artists. The phrase "alternative explanation" betrays a slight misunderstanding: on my reading, it's f#'' that needs the "explanation" in this sense (it's a passing tone, inserted because that's the normal thing to do when the rhythm allows it -- to do otherwise would be to give the pattern a specific character). Over the next couple years I would stop playing for month and then get right back on the grind for 3 straight months. Are you implying that retrospective contextualization doesn't happen, or is illegitimate? The A♯ can embellish the B at the level where B is a harmonic note; and then B can itself be a embellishing tone at a deeper level. TRUE/FALSE 1. It’s not like we can say it elaborates the b as a neighbor, because chord theory knows only two types of tones: those that are “part of the chord”, and those that aren’t.
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